ARCH1142 Reflection

Due to the range of skills and mediums employed in this course through its alternating electives, it has been a highly beneficial and insightful experience. A major highlight would be our ability to choose what we want to learn, whether it be a first encounter with such techniques/concepts or a desire to further hone our skills. Some new concepts i learnt was the importance of navigation, from the Atlas of Colour, and proper use of white space so as to enhance images. That was honed by my study of a precedent book in the Atlas of Colour, and compositional issues in Technical Drawing. Meanwhile while i was already experienced and confident with drawing, i felt that Technical Drawing further disciplined the values of patience and precision, while Fluid Thoughts taught me the importance of letting go of previous conceptions and attitudes, as experimenting allows one to further develop their skills and thinking.

Lowlights and the greatest challenge, would have been the pressure of time constraints, which i felt especially in the Atlas of Colour workshop as the cohesive presentation & navigational system (a huge aspect of the course) had to be left to the final week when all exercises had been completed. I have always been proud of my time management skills and desire to perfect what i do, so it was quite frustrating to have to present without being 100% satisfied with my final work.

I will definately carry on in further years, the skill of a sophisticated approach to composition, correct use of white space and successful sequencing. I also desire to change my rigid approach to art - sticking only to the techniques and mediums i am confident with - to instead embrace all approaches and methods. This course has taught me a range of ways to capture 3D space on 2D mediums, where i need to keep an open attitude so as to further my learning.

ARCH1142 Fluid Thoughts

A few photos of the daily day&night, interior&exterior sketches we had to do :)
At first i made the mistake of using pencil - sorry!!! But from week 2 i switched to charcoal.

This was one of my favourite sketches, because although simple, it really explores light and shadow during the day in a subtle, beautiful manner.

Another one of my favourites! I like the scratchy/grainy texture i managed to achieve with the charcoal (a first!) and how the scattered shoes add a human quality to the space...in again a subtle manner.
Charcoal is quite amazing for the various shades of grey and extreme black it can achieve! I think this tonal exploration is quite evident in this sketch.





I like the dramatic contrast between the untouched white paper and grey/black shadows.

I was quite surprised and happy with how i achieved such opacity/transparency/reflection with the media here! A celebration of the qualities of light :)
Final Drawing Presentation

3 views of the Sydney Opera House as one composition, so as to capture movement and a spatial experience. I found transparency the greatest technique, but looking back upon it, i should have further explored the other 2 techniques. I rushed my sky and so it's quite flavourless - just grey smudges.
Anton and Chrissie's desire for us to draw quickly and capture an impression, meant that i couldn't use the charcoal medium in the way i was accustomed to; slower, more traditional sketching, where the result would be a realistically shaded and rendered image. This 2nd drawing was achieved in such a manner, because we had more time and only needed to capture one view.
The still life exercise although our objects weren't moved until a long time later, and so we didn't get to finish our drawings. As evident through the cup, i carried over the technique of transparency i learnt from the Sydney Opera House experience. I also tried to intersect images...although that wasn't finished in the drawing. Another interesting technique i learnt was using the eraser to take away some of the previous drawing (especially as my tones were quite heavy), and work over the space again.

It was difficult at first to break the mindset of subtracting some of the drawing we had done, but i realised this experimental, unrestricted attitude to drawing was neccessary for one to embrace all possibilities in capturing space and sensations of movement.
Another unfinished drawing ( of a view from the Red Centre and then a close-up element placed boldly over it. As i knew i couldn't finish my background sketch in time, i was purposely selective with the elements i decided to shade, so that i could provide an impression of my intention. I chose the trees for their whimsical character, and in contrast the building with its defined rectilinear edges and strong shadow/light relationship. Through transparency, i was able to preserve the original fabric of the drawing and make it of almost equal strength to the close-up, despite being unfinished. I like how dark the shading is on the left of the funnel, as it's quite bold and dramatic :)
Finally our group collaboration, where Alise gave me a description of the space. I personally am not too happy with this drawing as i feel - by drawing off my imagination - it all looks a bit cartoonish rather than realistic :S And therefore, may be a bit restricted in conveying a true spatial experience? Therefore I tried to get the shading right so as to bring forth some realism.

ARCH1142 Atlas of Colour

My interpretation of the Colour Wheel

We were told to keep it circular and containing 6-12 shades of colours. I have taken a fun abstract approach, where the idea stemmed originally from the thought of having 3 interlocking rings. Then i thought that a standard circle and same thickness rim was a bit boring, so i warped them all a bit. I feel that this way, the shapes all fit together in a more arbitrary and interesting manner :)

I rarely use collage and so this was an insightful experience for me. I used a variety of paper, from cellophane (such as the small circles along the edges) to textured cardboard, magazine covers and glossy papers.

Watercolour experimentation

(the building is purposely exaggerated)

As this is a lead-up to the actual water colour task, i didn't bother finishing the painting (hope you don't mind, sorry!). While i am quite familiar with the water colour medium, my style of painting has always been very precise and slow and detailed, rather than fast and impressionistic. So again, this was a worthwhile exercise for me :)

While i felt unsure about it at first, i think steadily the layers worked together to achieve a successful impression of the building's vibrant colour and interesting form.

Final Watercolour Painting

One of Barragan's interiors, i again exaggerated the dimensions of the building. I was planning on using the stick-end of the brush except i changed my mind...the unpredictability of that technique (sometimes fine, sometimes blotchy) would ruin the light, translucent affect i am trying to achieve.

Colour Elevations

I redid this exercise as i don't like the look of painting planes a single colour on photoshop :( so blocky, quick and without artistic interest! As we're using painting in other exercises, i decided to use pencils here....although they don't show up nicely on the scanner.

7 Elevations

Again achieved through colour pencils, although many shades were lost through the scanner...

Additional exercises for tha Atlas

Luis Barragan's head as land contours :) This was fun, quick and easy to do, while achieving a striking 2D visual with the illusion of 3D space. Sadly when i printed the page, 2 of the yellow tones turned out almost the same colour!Plan and Elevation Photoshop Collage of Barragan's Tlalpan Chapel, Mexico City. This was my first experience at collaging 3D images on top of flat 2D surfaces, so as to create a sense of atmosphere and space. It was insightful, fun, quick (i basically only collaged a small area then scanned it and used photoshop to multiply textures) and the end result is quite beautiful :)
Colour pencil perspective and diagram of 49 veils...a lot of the pencil work was lost in the scanning :( It provided good insight into how the layering of colours produces different tones and so was the key inspiration behind my tunnel, and use of coloured asotate in my atlas.Group watercolour painting of Red Centre Window, where we desired to convey the graduation transition between hues of the colour wheel.

ARCH1142 Drawing

Final Presentation: Mario Botta House

(They are supposed to be viewed alongside each other, rather than below)
The Drawing class taught a variety of interesting points which i never considered much before - the importance of different line thicknesses, logical arrangements and texture, where the illusion of different shades can be achieved through the density of strokes or dots.

My work is an exploration of all these forms, as i alternated between 0.2, 0.4 and 0.6 pens, and dotted the vegetation behind my section and elevation. Furthermore i have aligned my drawings according to the footbridge, which was the element of the House i found most dramatic.

The focus on the footbridge was also a major reason for the choice behind the photo i used for my 3D sketch, as it really draws viewers into the picture and towards the strong, structural form of the building. Therefore the photo does convey Botta's desire for his architecture to stand defiant and separate against the landscape. However at the same time, it works harmoniously with its environment and is extremely beautiful.

The only technique i didn't embrace from the experience, was freehand drawing of lines. Sadly my pedantic, neat and obsessed-with-detail nature meant that i drew everything with a T square rather than tracing, so that i could have the satisfaction of absolute precision.

For further drawings i will definately enhance the power of different line weights and achieve even more successful and logical layouts.

In Class Exercises

This drawing class introduced me to the technique of tracing or drawing on tracing paper! It was quite an interesting experience...again this perspective aimed to glorify the footbridge and i used normal ball point pens so as to avoid smudging. The hatching technique reinforces how different shades can be created through varying density of strokes.

2nd Peer Marking

I did attend the studio although i left in the break....sorry Brad!!

Anyways i evaluated the students i was designated on the day - Min-Chun and Bianca.

Links to Environments & SketchUp Models

Note: I did name the files according to what Russell specified but it's too long so my last name etc gets cut off...

Draft 1:

Draft 2:

Final (NOTE it has been slightly updated so it will be different from the previous file, if any of you downloaded it):


Sketch Up Models:
Dining Table:
http://sketchup.google.com/3dwarehouse/details?mid=9fa9d9c14390d60e586947aeb98feeb
Zhang Elevator: http://sketchup.google.com/3dwarehouse/details?mid=b7a01415e3a2e13a248bf1e4f58f6d71
Versace Elevator: http://sketchup.google.com/3dwarehouse/details?mid=5e4acae1cbea927a248bf1e4f58f6d71

EXP3 Final Submission

NOTE TO BRAD: FOR MY ELEVATORS TO FUNCTION, U NEED TO SHOOT THEM! (after you get on) ONCE IS ENOUGH, AS OTHERWISE IT WILL TRAVEL BACK IN THE OPPOSITE DIRECTION

Zhang Yin's Office:

Zhang’s journey to power is conveyed through the strengthening structural form; the initially thin and weak ‘vines’ symbolise her impoverished past. However by developing into thick ‘branches’ which entirely dominate the bridge, it reveals how wealth has secured her present empowerment.

Zhang Yin's Elevater

Zhang’s elevator portrays her power as being derived from the paper cycle; the 3 lifts represent 3 stages in origami folding. The rebirth of dead material - paper - into a living object – lily - celebrates her ability to recycle waste into something valued by society.

Meeting Space & Dining Table:

The meeting space and dining table both feature curvilinear vs rectangular forms, to symbolize feminine empowerment in a masculine world. Therefore Zhang and Versace’s success in rising above the patriarchy, is evident through how the curved table flows over the rectangular seats. Zhang’s side features a spiral to capture her power as derived from the paper cycle, while Versace’s side increases in form, to portray the power of fashion as unstoppable.

Donatella Versace's Elevator:

Her elevator is a flamboyant stage, as her power is derived from the value of appearance and her role as trend-setter.

Donatella Versace's Office:

As Versace’s power is derived from fashion, the convoluted elevator system and multiple offices for maximum indulgence, imitate the excessive extravagance of fashion. Her lifestyle of comfort is portrayed through the ‘cushioned’ appearance of her offices. Abundant colourful lighting and glass then convey over-emphasis on appearance, as Versace is always on display.